Collective reception and their transformations: from affective participation in movie theatres to the effective participation in interactive installations

Detalhes bibliográficos
Autor(a) principal: Gomes, Fernanda de Oliveira
Data de Publicação: 2010
Tipo de documento: Artigo
Idioma: por
Título da fonte: Intexto (Porto Alegre)
Texto Completo: https://seer.ufrgs.br/index.php/intexto/article/view/8390
Resumo: From an analysis conducted by Walter Benjamin on the collective reception that is to be determined in Modernity, especially with the consolidation of Cinema as a product of cultural industry, this paper seeks to identify the changes that repositioned the viewer and that led to a behavioral changes in reception spaces. Thus, after a presentation of the concept of affective participation, discussed by Edgar Morin, this study proposes an update to the dynamics of communication, which focuses on the interactions between participants of proposals and artistic media, mainly through the emergence of new forms of sociability created by technical devices. Below are some interactive installations that are identified as experime ntal cuts of the contemporary scene, in a participatory culture. It becomes then possible to ascertain the intent of a performative dynamic interaction as well as the establishment of a climate of commentary, sharing and creation in the area of reception.
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spelling Collective reception and their transformations: from affective participation in movie theatres to the effective participation in interactive installationsLa recepción colectiva y sus transformaciones: de la participación afectiva en salas de cine a la participación efectiva en instalaciones interactivasA recepção coletiva e suas transformações: da participação afetiva em salas de cinema à participação efetiva em instalações interativasRecepção. Interação. Espectador.Reception. Interaction. Spectator.Recepción. Interacción. Espectador.From an analysis conducted by Walter Benjamin on the collective reception that is to be determined in Modernity, especially with the consolidation of Cinema as a product of cultural industry, this paper seeks to identify the changes that repositioned the viewer and that led to a behavioral changes in reception spaces. Thus, after a presentation of the concept of affective participation, discussed by Edgar Morin, this study proposes an update to the dynamics of communication, which focuses on the interactions between participants of proposals and artistic media, mainly through the emergence of new forms of sociability created by technical devices. Below are some interactive installations that are identified as experime ntal cuts of the contemporary scene, in a participatory culture. It becomes then possible to ascertain the intent of a performative dynamic interaction as well as the establishment of a climate of commentary, sharing and creation in the area of reception.Tras una análisis realizada por Walter Benjamin de la recepción colectiva que se vuelve a ser determinada en la Modernidad, sobre todo con la consolidación del cine como producto de la industria cultural, este estudio busca identificar las transformaciones que reposicionaron al espectador y que trajeron cambios comportamentales efectivos en los sitios de recepción. Así, después de una presentación de la noción de participación afectiva, debatida por Edgar Morin, este estudio propone una actualización para la dinámica comunicacional que privilegia la interlocución entre participantes de propuestas mediáticas y artísticas por medio de, principalmente, el surgimiento de nuevas formas de sociabilidad criadas por dispositivos técnicos. En seguida, algunas instalaciones interactivas son identificadas como recortes experimentales del escenario contemporáneo, dentro de una cultura participativa. Es posible, entonces verificar el intuito de una interacción dinámica performática, así como la instauración de una atmosfera de comentario, intercambio y creación en espacios de recepción.A partir de uma análise realizada por Walter Benjamin sobre a recepção coletiva que passa a ser determinada na Modernidade, principalmente com a consolidação do Cinema como produto da Indústria Cultural, este trabalho procura identificar as transformações que reposicionaram o espectador e que levaram à mudanças comportamentais nos espaços de recepção. Dessa forma, após uma apresentação da noção de participação afetiva, debatida por Edgar Morin, este estudo propõe uma atualização para a dinâmica comunicacional, que privilegia a interlocução entre participantes de propostas midiáticas e artísticas através, principalmente, do surgimento de novas formas de sociabilidade criadas por dispositivos técnicos. Em seguida, algumas instalações interativas são identificadas como recortes experimentais do cenário contemporâneo, dentro de uma cultura participativa. Torna-se possível então verificar o intuito de uma interação dinâmica performática, assim como a instauração de um clima de comentário, partilha e criação em espaços de recepção.Universidade Federal do Rio Grande do Sul2010-07-14info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionPesquisa Empírica; Revisão de Literatura; Pesquisaapplication/pdfhttps://seer.ufrgs.br/index.php/intexto/article/view/8390Intexto; No. 22 (2010); 99-115Intexto; Núm. 22 (2010); 99-115Intexto; No. 22 (2010); 99-115Intexto; N. 22 (2010); 99-115Intexto; n. 22 (2010); 99-1151807-8583reponame:Intexto (Porto Alegre)instname:Universidade Federal do Rio Grande do Sul (UFRGS)instacron:UFRGSporhttps://seer.ufrgs.br/index.php/intexto/article/view/8390/8697Copyright (c) 2010 Fernanda de Oliveira Gomeshttps://creativecommons.org/licenses/by-nc/4.0info:eu-repo/semantics/openAccessGomes, Fernanda de Oliveira2023-11-24T18:16:12Zoai:seer.ufrgs.br:article/8390Revistahttp://seer.ufrgs.br/intextoONGhttp://seer.ufrgs.br/intexto/oai||intexto@ufrgs.br1807-85831807-8583opendoar:2023-11-24T18:16:12Intexto (Porto Alegre) - Universidade Federal do Rio Grande do Sul (UFRGS)false
dc.title.none.fl_str_mv Collective reception and their transformations: from affective participation in movie theatres to the effective participation in interactive installations
La recepción colectiva y sus transformaciones: de la participación afectiva en salas de cine a la participación efectiva en instalaciones interactivas
A recepção coletiva e suas transformações: da participação afetiva em salas de cinema à participação efetiva em instalações interativas
title Collective reception and their transformations: from affective participation in movie theatres to the effective participation in interactive installations
spellingShingle Collective reception and their transformations: from affective participation in movie theatres to the effective participation in interactive installations
Gomes, Fernanda de Oliveira
Recepção. Interação. Espectador.
Reception. Interaction. Spectator.
Recepción. Interacción. Espectador.
title_short Collective reception and their transformations: from affective participation in movie theatres to the effective participation in interactive installations
title_full Collective reception and their transformations: from affective participation in movie theatres to the effective participation in interactive installations
title_fullStr Collective reception and their transformations: from affective participation in movie theatres to the effective participation in interactive installations
title_full_unstemmed Collective reception and their transformations: from affective participation in movie theatres to the effective participation in interactive installations
title_sort Collective reception and their transformations: from affective participation in movie theatres to the effective participation in interactive installations
author Gomes, Fernanda de Oliveira
author_facet Gomes, Fernanda de Oliveira
author_role author
dc.contributor.author.fl_str_mv Gomes, Fernanda de Oliveira
dc.subject.por.fl_str_mv Recepção. Interação. Espectador.
Reception. Interaction. Spectator.
Recepción. Interacción. Espectador.
topic Recepção. Interação. Espectador.
Reception. Interaction. Spectator.
Recepción. Interacción. Espectador.
description From an analysis conducted by Walter Benjamin on the collective reception that is to be determined in Modernity, especially with the consolidation of Cinema as a product of cultural industry, this paper seeks to identify the changes that repositioned the viewer and that led to a behavioral changes in reception spaces. Thus, after a presentation of the concept of affective participation, discussed by Edgar Morin, this study proposes an update to the dynamics of communication, which focuses on the interactions between participants of proposals and artistic media, mainly through the emergence of new forms of sociability created by technical devices. Below are some interactive installations that are identified as experime ntal cuts of the contemporary scene, in a participatory culture. It becomes then possible to ascertain the intent of a performative dynamic interaction as well as the establishment of a climate of commentary, sharing and creation in the area of reception.
publishDate 2010
dc.date.none.fl_str_mv 2010-07-14
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
Pesquisa Empírica; Revisão de Literatura; Pesquisa
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://seer.ufrgs.br/index.php/intexto/article/view/8390
url https://seer.ufrgs.br/index.php/intexto/article/view/8390
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://seer.ufrgs.br/index.php/intexto/article/view/8390/8697
dc.rights.driver.fl_str_mv Copyright (c) 2010 Fernanda de Oliveira Gomes
https://creativecommons.org/licenses/by-nc/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2010 Fernanda de Oliveira Gomes
https://creativecommons.org/licenses/by-nc/4.0
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidade Federal do Rio Grande do Sul
publisher.none.fl_str_mv Universidade Federal do Rio Grande do Sul
dc.source.none.fl_str_mv Intexto; No. 22 (2010); 99-115
Intexto; Núm. 22 (2010); 99-115
Intexto; No. 22 (2010); 99-115
Intexto; N. 22 (2010); 99-115
Intexto; n. 22 (2010); 99-115
1807-8583
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